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Chapter 24

by: Jenna Schneider

Chapter 24 MUS 200-0003

Jenna Schneider
GPA 3.6

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Music In General Culture
Professor VIcki Curry
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This 2 page Bundle was uploaded by Jenna Schneider on Wednesday December 2, 2015. The Bundle belongs to MUS 200-0003 at James Madison University taught by Professor VIcki Curry in Summer 2015. Since its upload, it has received 84 views. For similar materials see Music In General Culture in Music at James Madison University.


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Date Created: 12/02/15
Chapter 24: From Impressionism to Modernism December 2nd, 2015 Impression in Art  Result of anti­German sentiments  Late 19th century that sought to recreate the impression of a single, fleeting moment began in France & centered around Paris—part of nationalism,  French wanted their own music  Against representational art; experience of a moment rather than exact rep —camera was invented & painters couldn’t compete   Spots of color & short brush strokes create movement & fluidity   Importance of light  Artist: Monet, Renoir, Degas, Pissarro, and Cassatt Romanticism Impressionism  Long expressive melody  Short motives  Clear rhythms/ meters  Obscure beat/ meter  Strong c  Anti climatic cadences  Climaxes/ cadences  Static, undulating harmony  Purposeful chord  Color “ for its own sake” progressions  Color reinforces themes Melody: motives rather than long themes, use of a whole tone, pentatonic and chromatic scales to obscure tonic th Harmony: static harmony instead of strong cadences; use of 7 and 9 chords, parallel motion Rhythm: free, flexible rhythms with irregular accents Color: soloistic writing, emphasis on woodwinds and brass Texture: varies from thin and airy to heavy and dense: primarily homophonic Form: adapted to the particular composition; avoidance of traditional forms. Claude Debussy (1862-1918)  Majority of his career spent in Paris  Studied piano, composition and music theory at the Paris Conservatory  Traveled to Italy, Russia and Vienna thanks to his patron Nadzhda von Mack  Won the Prix de Rome in 1884  Works include Prelude to the Afternoon of the Faun (1894) Pelleas et Melsande (opera, 1902) , two books of preludes for piano.  Written to precede a stage reading of the poem the Afternoon of the Faun by Stephane Mallarme (poet)  Music not a programmatic depiction of the poem  Illustrates dream- like mood, vague and elusive  Exploits distinctive orchestral colors, especially woodwinds, more than melody  No repeating rhythms or clear cut meters  Static harmony.  Loosely constructed ternary form = Midi d’un Faune


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